Koikyokusei could be the first feature film of Mori, it is hardly a newcomer. Photographer hailed turned Director (think Mika Ninagawa (Sakuran)), it has been around since nearly 20 years. His career is perhaps not as visible in the first feature film of Ninagawa, but if you look close enough you can still recognize the eye of a photographer here.
Mori film is set in the idyllic landscape of Hokkaido in winter time, quickly reminding me of Millennium Mambo and Shinkai 5 centimeters per second of Hou (although actually in Hokkaido, the setting is quite similar). The film follows Natsuki who lives all by itself, stuck in boring work and all of his free time taking care of his mentally unstable brother. His life is out of whack when a friend of former child, Sota, returns to catch up with lost time between them.
Somewhat reluctant at first, she cannot help but surrender to his will charm. And when it finally considers there is light at the end of the tunnel, Sota decides to return to Tokyo, leaving their relationship hung once more. Puzzled, Natsuki sets out to find why he ran it for a second time, only to discover the truth behind the actions of Sota. Cue dramatic last hour.
Visually, Koikyokusei is a typical Japanese drama. Somewhat stilted, controlled camera work, a few distributed superb shots in all and always attractive. The beautiful definition almost made the rest. Quite a few shots from the top, but I guess that is where the experience of former employment of the Mori is picking up. It leads to some very nice images, so you do hear me complain.
As for the soundtrack of the film, it is obviously point low of the film. Every time a dramatic climax approaches film reaches to fill the background with a few pop songs Japanese shaded, most of them of quality worthy of confidence. More subtle, sweetened musical choice, proven how that might be, would have worked here much better, more emphasis on the actors and the images. We hope that something Mori will consider when she began work on his next film.
Acting is solid, while Toda and Kato have no difficulty to carry dramatic weight on their shoulders. Perhaps Kato looks like bears a little too much resemblance with those of an idol of fiery popstar of Tokyo, but it is just a minor quirk and I guess that has to do with the commercial appeal than actual acting skills. Support casting is too nice, but that the film is strongly concentrated on its two main characters, he is not far too much room for them to really shine.
The third act of the film is certainly the best. While the first hour is decent and efficient, the soundtrack of the film retains more than any real emotion. When film approaches its peak that is reduces the impact of music and drama prevails Finally, delivering very touching scenes and some poignant moments.
The final is elegant and respectful. Not what you call a happy ending but in true Japanese fashion the main characters find solace in their plight and find the strength to continue. It is somewhat unrecognized cliche (some people only appear to think that happy endings are snapshot), but when it is executed it is very powerful.
Koikyokusei is a beautiful little drama, only hampered by some poor choice of music. The acting is strong, the film is visually powerful (make the most of its lovely framework) and the drama is humble and touching. Almost everything I wish for in a good Japanese drama. It is certainly still room for improvement, we hope Mori gets another chance to improve his skills.
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